Baby Love (1979) Rino Di Silvestro

A queen has a stepdaughter named Baby Love, whom she wants to sell as a bride to the highest bidder. Four individuals present themselves to the castle to contribute to a kind of auction, but the girl, route to all sexual experiences while still a virgin, prefers to set out and lose virginity with a young knife thrower who is, incidentally, also the queen’s lover. Kidnapped, finally, by an actor of avant-garde theater, Baby Love chooses to live with him in a hermitage, while mother and buyers remain with egg on the face?

There are a Japanese, an American, a Russian and a Sicilian … Baby Love starts as a joke, with these four characters on board a car covered with mirrors climb the switchbacks that lead to the castle of Balsorano. They are Hal Yamanouchi, Sergio Ciani version peroxide plus another two anonymous fourteenth century characters. When the queen of the castle enters, Paola Maiolini (stage name Katia Wassel or Violette Lafont?) with Bolognese accent and look between the stupid and the whory, she wants to marry her stepdaughter Baby Love (Wassel or Lafont, in the credits?) to the one who offers more money, we realize that the worst dialogue of Italian cinema, indeed world cinema, were not written by Polselli but by Di Silvestro, who in this film, in its own way unforgettable, gets to the dangerous road of the grotesque-surreal coming from the parts of an Arduino Sacco.